TOMASZ STANKO - LEOSIA

w/
Bobo Stenson
Anders Jormin
Tony Oxley

For me jazz is not a music of styles but of personalities. The giant of Charlie Parker. The giant of John Coltrane. It's not exactly like baroque music was, but, for us, now, the music is about certain names: Bach ... And it's like that with jazz, and, of course, some European names are also beginning to be high. But the music is different... it's a different territory. It's roots are different, everything is different. It's the same in opera; Gluck opera is different to Italian opera. This is a very natural thing for me. I think the European music developed pretty fast. It started just after the war.

motion | tomasz stanko interview
anger, lyricism and power
by simon hopkins and dan hill

 

       
from the All Music Guide:

Now living in Seattle but originally from the state of New York, Bisio has strong formative experiences in both free jazz (with Barbara Donald and Sonny Simmons, among others) and contemporary classical music (with clarinetist Bill Smith and trombonist Stuart Dempster). But on the sleeve are acknowledged the influences of David Izenzon* and Henry Grimes, two bass players that surely were able to be true to the personality of the instrument while freeing it from any obvious support role.

Both his solidly grounded basslines and his remarkable sense of musical architecture impress here. Overall, Undulations resonates with intelligence, emotional depth and probing virtuosity." -Bill Milkowski, JazzTimes

   Rob Blakeslee, trumpet, cornet, flugelhorn; Jim Nolet, viola; Bob Nell, piano; Michael Bisio, bass; Ed Pias, drums

         
a testament to an artist who has trod an incredible musical path begining in the late 50's. roswell rudd
Depuis toujours, j'ai pensé à la voix lorsque je souffle. Je voulais produire le type d'effets qui ne sont généralement admis que chez un chanteur. L'urgence du chant. (...) Quand on est artiste, on se doit de montrer aux gens un monde non-manifesté. On devient alors un «manifesteur». Ce qui était inouï devient audible. Ce qui était invisible devient visible. La lutte vient du fait qu'il faut transcrire, rendre explicite les choses de l'autre monde. Le combat vient de ce qu'ils appellent l'aspect technique, d'articuler ce qui semblait inarticulable. Plus on vit, plus on découvre, plus on s'émerveille, plus il est douloureux de rendre ces sensations.

Un concept déjanté et subversif

groupe inclassable, provocateur et allumé qui, au lieu de se heurter à l'obstacle des influences, revendiquent au contraire les métissages : des Beatles à Zappa, de Frank Rosolino à Jay Jay Johnson, de Miles période électrique à l'électronique d'Amon Tobin. Sans oublier la jungle, ou George Russell.Olivier Masson

David Izenzon (1932-1979) was a bassist noted for the astonishing bowing technique he displayed as a member of Ornette Coleman's trio (and on recordings with Coleman, Archie Shepp, and Sonny Rollins, among others) in the 1960s. Izenson was Lindberg's teacher when Lindberg was seventeen.
David was classically trained and performed with Pablo Cassals at his famous United Nations Concert in New York (as well as lots of other classical gigs). David also jammed or performed publically with just about every Jazz player in the world at one time or another before his untimely death from a heart attack. He held a Phd in psychology and had a psychotherapy/encounter group practice out of his brownstone on East 3rd street in the East Village. David was one of the very few musicians who were asked to perform at Coltrane's funeral.